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Growing up, I didn’t always watch the greatest films. Most of them were straight-to-video family films you could rent at the local video store for a dollar. Most of them involved mischievous kids getting involved in something bigger than them and ultimately saving the day from ruthless (but mostly clumsy) baddies. As a child, I loved watching them because they showed me a world in which children can get away with anything and embark on risky adventures but still come out all right.

I also started to watch the R-rated “Stand By Me” when I was 9 years old (before I would watch it again and again and again), but not even that would’ve prepared me if I saw director Jon Watts’ “Cop Car” at a very young age.

“Cop Car” has a setup that sounds like one of the movies I used to watch way back in the day. Set in the deep South, two pre-teenage boys (played with natural ability by Hays Wellford and James Freedson-Jackson) are running away from home (for reasons never explained, so who cares?) and are walking along empty fields out in the middle of nowhere when they come across…a cop car. It’s a patrol unit abandoned out in the open, and they decide to hit it with a rock…then they decide to play inside it…then they realize that the keys are in it… And this leads to a fun joyride, as the boys drive along fields before taking it to the mostly-empty highway to drive faster. But meanwhile, the Sheriff (Kevin Bacon) wants his car back…

Sounds a bit trite, doesn’t it? Well, what if I told you that the Sheriff is a definite bad guy who disposes of a dead body from the trunk of the cop car? What if I told you there’s something sinister awaiting the boys once they find what’s left in the trunk? What if I told you this plot went from fun adventure to Cormac McCarthy territory, in which the situation becomes more bleak, lives are in jeopardy, and it’s unclear whether these little boys will get out of this alive?

And what if I told you that I loved the directions “Cop Car” kept taking?

This kid’s joyride story takes a dark, disturbing turn as the boys start playing with the artillery left in the backseat (with one of them looking down the barrel of a rifle when he thinks it isn’t working—yikes!), they discover something in the trunk that brings everything to a horrific situation (and with one of the most horrifying monologues I’ve ever heard in a movie—hide your pet guinea pig, kids), and the corrupt Sheriff does what he feels he must do in order to save his reputation and himself in this deadly game of cat-and-mouse. It’s a pulsepounding, suspenseful thrill ride that had me riveted right to the ambiguous conclusion.

We don’t know all the details involving the characters, such as why the boys are running away, who the Sheriff murdered, is the frightened but deadly Shea Whigham character (who shows up late in the proceedings) to be trusted in any other situation, and so on. We’re just put into this journey as the boys are walking and exchanging curse words before coming across the cop car, and off we go. By the time the film got really good, I didn’t care about details that were left out; I was simply involved, and all I knew was how unlikely it seemed that anyone was going to get out of this alive.

The kids feel like real kids. They’re rowdy little boys who think they’re much smarter than they actually are; they do very stupid things (like play with guns; at one point, one tries to shoot the other wearing a bulletproof vest). Because they feel real, the danger for them feels even more real, and that’s when we start to fear for them when they don’t even realize how much trouble they’re in.

Kevin Bacon is a ton of fun in this role of the corrupt Sheriff. He’s menacing but also funny, particularly in the scenes in which he realizes his car is missing, he has to steal the only car around for miles, and he has to come up with numerous ways to keep dispatchers from noticing anything out of the ordinary (and it also doesn’t help for him that he’s not very smart either). He handles it with his usual Kevin Bacon charisma. But the charisma turns to terror, especially when he bluntly tells the boys, “YOU DON’T STEAL A COP CAR!”

The cinematography, by Matthew J. Lloyd and Larkin Sieple, is gorgeous, delivering a vibe that’s very much Terrence Malick-esque. As the boys are walking along these empty fields and surrounded by nothing but seemingly-endless country, I can’t help but feel the location.

“Cop Car” is darkly terrific and a great thrill ride. And it taught me to never steal a cop car, especially if it’s Kevin Bacon’s.